Not necessarily titles, but you remind me of something that Shakespeare did incessantly -- inverting standard word or sentence order, for the sake of the poetry of the thing.

One example off the top of my head (because the monologue is stuck there); Richard III, Act I, Scene i: we get, "This day shall Clarence closely be mewed up about a prophecy which says that G, of Edward's heirs the murderer shall be."

The plain English way of putting that would be, "Clarence will be mewed up today because of a prophecy which says that G shall murder Edward's heirs." But it just doesn't have the same poetry to it, does it?

As for titles that resonate with me: "The Persecution and Assassination of Jean-Paul Marat as Enacted by the Inmates at the Asylum at Charenton Under the Direction of the Marquis de Sade." Sure, they use "Marat/Sade" on the poster, but it just ain't the same.

Greatest. Play. Title. Ever.

Another title that resonates: "I, Claudius." It's a sentence fragment. There should be something more there. But, by its lack of further information, it says everything. It also implies "Aye, Claudius," meaning that the BBC's greatest drama series of all time is just a prefigurement of "Yes, Minister."

Then there's "Yellow Back Radio Broke-Down" by Ishmael Reed. No real verbs there, but it says so much. Right up there with his "Mumbo Jumbo," which means one thing to western ears, but gets a completely new definition in the first chapter -- and, in the sequel to that novel (Flight to Canada), we learn that "Mumbo Jumbo" itself completely (re)defines the character of Papa La Bas, since La Bas is, in many ways, of the same meaning as "mumbo jumbo."

But, I do digress...